Presentation Script
- Introduction –
Projector: Still iconic image of Harvey Keitel (Mr White) standing over Steve Buscemi (Mr Pink) in Reservoir Dogs [4]
Speaker:
Ever since his directorial debut with ensemble heist film Reservoir Dog's [4], Tarantino has chosen strong, often morally conflicted characters to be at the centre of his tales of ‘life, liberty and the pursuit of vengeance’ [tagline of item 5]. However in 1997, he introduced a desire to produce specific female-driven films with his first adaptation and third feature-length film Jackie Brown [2]. I believe it’s this turning point in his career that has had the largest impact on the consideration of him as an auteur by his audience. Despite this, the director’s most universally acclaimed films (as aggregated by rottentomatoes.com) are Pulp-Fiction (94% approval), Reservoir Dogs (92%) and Django Unchained (88%) - all male-oriented films. So I ask this:
Projector displaying my hypothesis: ‘Does Quentin Tarantino's unconventional, yet persistent portrayal of strong, independent, anti-heroine characters within his filmography classify him as an auteur?’
Speaker:
Before we discuss reasons as to why Tarantino could be considered an auteur, we must first consider Auteurism as a whole and the reason it's used by so many when analysing and critiquing film. As explained by author Ian Stephens [7], its Tarantino's evolution as a filmmaker from his earlier work to work more focused upon the depth of his characters relationships and individual backstories, such as the case with Kill Bill, that has defined him as an auteur of cinema. Historically, the title of an
'Auteur' was given to a director that had their own individual style, Therefore, this will be the primary basis for explaining how Tarantino should
Speaker:
Quentin Tarantino is often considered an auteur of post-modernist filmmaking. His collaborative spirit, as showcased in the co-directed effort Grindhouse [17], could be the key to the success of his films. One could argue that it’s those who surround a director, such as the cast members, that can truly help bring characters off of the page, but only once they are allowed their own input. [9] His most infamous character is Kill Bill's former D.I.V.A.S. member Beatrix Kiddo who’s played by his close friend and ‘muse’ Uma Thurman. [1]
Projector: Image of The Deadly Viper Assassination Squad members standing over the busted Bride. [1]
Thurman starred in Tarantino’s 1994 black comedy crime film Pulp Fiction. She plays a similar and seemingly in control character as that of Kiddo, named Mia Wallace - the wife of Gangster boss Marsellus Wallace. It is the idea of this character's brief story which audiences want to know about the most: according to Tarantino [13]. Interviews would suggest that Tarantino's most career-defining feature, Kill Bill Vol. 1 & Vol. 2, is a broadened take on Mia's intriguing unknown backstory in Pulp Fiction. Questions such as "How the hell does she even end up with Marsellus anyway? What is that about?" and "Is it a happy situation with Wallace? And if she's brought back from death, will there be any changes?" were the seeds planted in Tarantino's mind that lead him to answer these questions in Kill Bill. However, prior to this, Tarantino set his mind on a movie adaption of Elmore Leonard's novel Rum Punch, called Jackie Brown (1997) [2].
Projector: Clip of Jackie Brown [2] getting one over on Ordell Robbie. (46:00-53:25)
Speaker:
This scene opens up with Robbie silently watching Brown get dropped off at her home as he sits in his parked car across the street. This scene is an indication of Tarantino’s unconventional narrative style. Instead of the villain typically reaching for a gun as he opens up the glove box, as per the crime-genre convention, Ordell reaches for some gloves [7]. However, the next shot is of a gun on his passenger seat, thus displaying Tarantino playfulness with his audience’s expectations and view of Ordell. The location of his gun in particular suggests he will attempt to murder Jackie; he views her as an unfaithful accomplice, instead of a victim of an association to him. This is an example of how Tarantino makes his older male characters overbearing and dismissive of his passively-viewed leading women. [8]
Due to the prior actions of Ordell, it’s unsurprising that Jackie would be paranoid and aware of her surroundings (Ordell’s not-so-discreetly parked car). It’s also likely that she would be prepared for Ordell to knock at the door at any moment. But once again Ordell underestimates her and is caught off-guard once she holds a gun to his crotch. It’s at this point Jackie’s demeanour changes from passive to active; she takes control of the situation. [8] As per her dialogue, Jackie is willing to forgive Ordell’s actions, but from her conversation with Max the following morning, we learn that she is unwilling to forget. This unwillingness to forget is the added depth to her character which eventually leads to her victorious resolution. [9]
Projector: The following morning coffee with Max Cherry (scene clip). [8] (53:26-1:00:14)
The following morning-after scene is an effective juxtaposition [16] as it plays out oppositely to the previous. At first Jackie is active as she leads the conversation and tells Max to come inside and sit down. However, once the scene plays out she becomes more passive and appreciative of what Cherry has to say. The happiness of both of the characters once they’re together is evoked through high key lighting as opposed to the horror genre-evoking low key lighting of her time spent with Ordell.
In this scene we’re told of how, due to her financial situation and misfortune Jackie can’t afford anything new in her home. This scene is not eerily silent, it’s got uplifting music!
The true challenge Jackie faces, is not Ordell, but the road ahead if she gets busted again.
Jackie’s uplifting spirit is infectious as shown in the following police department scene. As opposed to their first aggregated meeting, Jackie is allowed to smoke in the cops’ office. All of the characters have smiles on their faces. The other cop (Michael Keaton) seems joyed to see her again. This scene shows how once you get to know someone such as Jackie; you grow in adoration towards them.
Projector: Insert video of Tarantino talking about the creation of Death Proof and Planet Terror with Robert Rodriguez [14] (00:24-00:29)
Speaker:
In her last appearance on screen, after her death just seconds prior, a close-up head shot of the lead females face is projected over an audience of confused Nazi's in the burning French cinema scene of Inglourious Basterds. The style of her message is a clear visual reference to George Orwell's "Nineteen eighty-four" character Big Brother. Shosana is given apparent power over the viewers fate in the theatre: much like Tarantino's auteuristic control over the audiences of his films. Similarly to how Big Brother is viewed by the citizens of Oceania, Shosana is also viewed as the "benevolent protector of all citizens" to Inglourious Basterds' audience. All in the theatre must die in her eyes.
Notes:
In conclusion, whilst I do think that the use of strong females in his films do contribute to the authenticity of his authorship, it is clearly not the defining element. Tarantino has proven that being an auteur is not about having everything on screen be your specific view, instead it is the realisation and fulfilment of your individual intentions.
For example, the cinematography is strategically void of ‘male-gazes’, which would indicate Tarantino’s respect and sense of maturity towards the ever-present female characters of the film; a distinctive difference in comparison to other ‘female empowerment’ flicks such as Tomb Rader. [13]
Kill Bill is, in my opinion Tarantino’s best work, just not in its current structural form of two volumes. The biggest problem with Kill Bill is its structure of events shown to the audience. Most of the directors desired suspense with the audience in his scenes is not fulfilled due to their juxtaposition.
In this scene, The Bride tells Bill why she chose to stay away from him: she fell pregnant (it was a form of redemption). She states: “Before that strip turned blue… …I was a woman, I was your woman. I was a killer who killed for you. Before that strip turned blue, I would’ve jumped a motorcycle onto a speeding train. For you. But once that strip turned blue… …I could no longer do any of those things. Not anymore. Because I was gonna be a mother. Can you understand that?
Yes. But why didn’t you tell me then, instead of now?
Once you knew, you’d claim her. And I didn’t want that.
Not your decision to make.
Yes. But it’s the right decision, and I made it for my daughter. – She deserved to be born with a clean slate. But with you, she would’ve been born into a world she shouldn’t have. I had to choose. I chose her. You know, five years ago, if I had to make a list of impossible things that could never happen, you performing a coup de grace on me by bustin’ a cap in my crown, it would have been right at the top of the list. I would’ve been wrong, wouldn’t I?
· Tarantino has proven that being an auteur is not about having everything on screen be your specific view, instead it is the realisation and fulfilment of your individual intentions.
Tarantino isn’t afraid to create controversial films. He’s afraid to create films that fail to entertain and that have a lack of vision pieces, pieces in which he describes as being cocky and that they (himself and Rodrigues) had gotten used to going off into uncharted territory and people (referring to the audience) following them anywhere whilst in the process of creation such as with his 2007 grindhouse inspired film Death Proof. Instead he wants to challenge his audience, and hence himself as he considers himself a part of the audience. After just coming off the back of what he considers one of his best films to date: Kill Bill Volume 2, Tarantino felt as if he was confident yet cocky when it came to creating a grindhouse film, instead what he created was
Despite being confident in his ideas, Tarantino always craves the thoughts and opinions of others regarding any aspect of the filmmaking process
The Director’s Chair interview:
Reasons why it’s great to put in the catalogue:
1. Tarantino sits down with his close friend of more than 25 years to discuss a passion for filmmaking they both share. Hence, it is a lot less formal than most interviews that Tarantino has done. It gives him a chance to feel more relaxed and open to share his true thoughts.
2. Tarantino discusses new topics, never before discussed in other interviews or media.
3. Never before seen clips of Tarantino on set and talking to Rodrigues are shown. This offers further insight into the creation of his films and how much of an auteur he is on set.
Tarantino quote (the directors chair part 2)
“In the case of like, say, Jackie Brown, I have to, you know be careful of how I say this because, I absolutely love Jackie Brown – It’s one of my best movies, I think it’s really, really terrific. I have a deep affection for it. Having said that I don’t really think I was put on earth to really adapt other peoples novels” – In this one quote, Tarantino expresses his desire to be a true auteur of film: creating his own films entirely based off his on thoughts and stories from his own experiences.
Tarantino: “I was there to face the blank page- I was there to start from nothing- that is my movie, that is what I am really here to do.”
In response to Rodrigues’ question on why Tarantino wanted to take many different visual languages of film such as anime, samurai and spaghetti western and use them as tools in one film, Kill Bill, Tarantino replied: “My goal was Kill Bill as one unit, not Kill Bill one and two, but Kill Bill as the way I wrote it and the way I shot it: as one”. This conversation showcases how sometimes Tarantino’s desires can not always become a reality
“I see the movie in my mind” “Before I watch the movie I have a genuine vision for the film and I am doing that vision – how I see it.”
On how he achieves such great performances from his actors Tarantino states:
“I think you should be sitting right by the camera [as a director]” “I actually think one of the best things for a film director to be doing in this modern day is to not be viewing it [the take] in video village” – meaning as to not be watching them act via a monitor far away or in a whole other room from where the scene is taking place.
“If you watch the acting, right next to the camera, right in front of the actors, it’s as if they are acting just and solely and utterly only for you”
“Kill Bill was insanely personal. I don’t necessarily want you to know why it’s so damn personal and why its ripped from my heart and my soul, I wanna create a little subterfuge” “But it’s still all very real, it’s still all coming from me”.
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